Joseph Wilson

Albert Herring
$31.98
There are several contenders for the title of "greatest recording of a major opera: the TOSCA starring Callas and Gobbi, and the all star Guilini recording of DON GIOVANNI; Sir Georg Solti's RING cycle. I have a new contender for the title: This recording of ALBERT HERRING. Not because this is one of the greatest operas ever written; Britten was no Mozart, Strauss or Puccini. It's not even the greatest Opera Britten ever wrote: I rank it below PETER GRIMES. But the Recording has so many strong points and virtually no defects that to ignore it on any list of the greatest opera recordings would be a sin.

The first of many advantages is that this recording has the Composer at the podium. Britten is able to put every subtle emotion and nuance in the score at the listener's disposal. His direction of the singers and the 14 players of the English Chamber Orchestra is a lesson in operatic conducting. Listen to Albert's Drunk Scene through hi-fi headphones or with a good stereo system: you will hear everything the score could and should ever be.

Witch brings me to Albert Himself: Peter Pears. He was in his sixties by the time of this recording, but his voice is in the same glorious shape it was in when he was 30. He paints a picture in words and music of Albert's yearning, shyness and desperation to cut his apron strings. I once again turn to the Drunk scene: he seems genuinely Jovial, confused, and lovesick in the first half, before Nancy and Sid's interruption. Then, at the line "God helps those who help themselves", all the passion, anger and frustration of the character come boiling out in one intense and beautiful moment. The part was of course written for him, and he vocalizes beautifully, but the insight and passion he brings to the performance is unmatched by anyone.

He is surrounded by a supporting cast who are likewise exemplary. Sid and Nancy, Joseph Ward and Catherine Wilson, are wonderful: Wilson brings a sweet, smooth mezzo to the role, painting a perfect aural picture of the young, complicated free sprit Nancy is. Her regret in Act three at her actions is near heartbreaking, and her love duets with Ward are charming. Ward has a youthful-sounding, powerful baritone that is perfect for the impulsive young man. From an interpretive standpoint he is fine: suggesting just enough of thought behind his acts to make him a complicated character. Shelia Rex's Mum works well with what little is given to her: a fussy, overbearing characterization.

Sylvia Fisher is past her vocal prime here. Several high notes are squally and she is sometimes off-pitch. But there is no doubt of who she is: a Dragon lady aristocrat of Wagnerian proportions. Johanna Peters is genuinely funny as her harassed housekeeper and the rest of the village elders are hysterical and gloriously sung. We have April Cantelo's Simpering, befuddled Miss Wordsworth and the Vicar of John Noble, noble and robust almost to the point of parody. Edgar Evans' Mayor is less distinguished but actually funny in act two. Best of all, we have the Budd of the ever-amazing Owen Brannigan: a simple, amiable fellow, but by no means stupid. He shines in the third act: his annoyance with Lady Billows and the rest is very funny, and he actually seems amused by Albert's recounting of his night out. You can almost see the old boy holding back a laugh. The three children are also strong.

One thing that amazes me in this recording is the sense of atmosphere given by the recording engineers. There are small touches, barely noticeable, that give this the feel of a live performance, or even better real happenings. From the scribble of Florence's pen in the opening moments to the whiz of the orange wreath being thrown out in the opera's closing bars, to door slams, gas hisses and footsteps in between, this is like listening to a live performance with your eyes closed. You can even hear Harry when he whispers to be excused by Miss Wordsworth! I never find this intrusive, but others may, so I'm just warning you.

In closing, it is impossible for any other cast, orchestra and composer to reach this level of understanding with the work. Certain individual elements or moments may be bettered (Felicity Palmer is a hysterical Florence on another recording) but the sheer joy, humor and even drama of the set will never be bettered. Opera is all about emotion, and this recording captures every emotion ALBERT HERRING is about.

Historic Print (S): [Riley Joseph Wilson, half-length portrait, facing left]
$187.00
This is a museum quality, reproduction print on premium paper with archival/UV resistant inks. The framed work is single matted (ivory), under acrylic glass, with a hanging wire.Date: [between 1910 and 1946]Subject: Notes: Format: Portrait photographs 1910-1950.Photographic prints 1910-1950.SOURCE: Library of Congress

Love Song - Joseph Clark Ii, Isaac Jones, Bryan Wilson, Furmon M
$0.99

Charlie Wilson's War
$2.99
Political films are some of the hardest in Hollywood to pull off smoothly. Either the subject matter is too controversial, it paints someone in too positive/negative of a light, or it flat out messes with history to fit a dramatic tone. "Charlie Wilson's War" suffered from none of these problems, yet still managed to underwhelm due to a completely unexpected source: it couldn't decided whether it wanted to be gripping, or a farce.

Basically, this movie tells the story of U.S. Senator Charles Wilson, who (during the Soviet-Afghanistan conflict) was so inspired by the courage of the Afghan troops in fending off the Russians that he launched a covert "campaign" of sorts to get the Afghans the funding/weapons they needed to defeat the spread of Communism from the Soviets. As history bears out, Wilson succeeds in this task and is regarded as a hero...at least for the time being.

This entire film could have taken (and would have been much better off, in my opinion) a more serious tact to the political issues being dealt with, like the lack of funding to an Afghanistan "military" that was essentially fighting the Soviets for the United States, or the fact that Afghanistan went on to produce the terrorists that perpetuated 9/11 and we are now fighting. This approach could have been a great sort of dramatic "treatise" on those issues and could have made people really think about them.

Unfortunately, the film does not take that sort of tone, and instead focuses on the character of Charlie Wilson. While obviously at the center of all the goings-on, this prolonged focus on Wilson's personality and private life only served to drag the film down. Plus, all the characters (but essentially Tom Hanks' Wilson and his lady-friend played by Julia Roberts) seem way too over the top in their interactions with each other and the plot at hand. I realize the intent of the filmmakers, which was to show what a maverick Charles Wilson really was, but to me that wasn't the most interesting part of the story.

Thus, "Charlie Wilson's War" is a respectable film dealing with an interesting political event, yet views those happenings through a prism (the crazy Wilson) that isn't altogether engaging. While the focus on the Afghan-Soviet conflict is refreshing (not just World War 2 or terrorism), it isn't played for the type of drama that could have occurred. Involved political minds will find it interesting, while lesser scribes may drift off as the message gets lost in Hanks' over-the-top portrayal of Wilson.